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LIBRARY OF CONGRESS. 

UNITED STATES OF AMERICA. 



/ 



SCHOOL AND PARLOR 



TABLEAUX 



SARAH L. STOCKING. 



PRICE 25 CIEHSTTS. 



CHICAGO: 
T. S. DEN I SON. 



FOR SCHOOLS AND AMATEURS, 



JL 880 



Price, 15 Cents Each, Postage Paid. 



These plays have heen prepared expressly to meet the wants of teachers 
and amateur clubs by teachers of extended experience in the school room 
and in the presentation of amateur plays. They are simple in construction, 
and require no scenery, or only such as is usually at hand. They afford ample 
opportunity for "acting." They are pure in tone and language. 

The " School and Social Drama'' series are no longer on trial. Their 
success is assured. The testimonials given with each play express the 
opinions of those who have used the play and know whereof they speak. 

"If the succeeding numbers are as good as the first, we predict for them 
a large demand."— National Teachers' 1 Monthly, N. Y. and Chicago. 

''The farces are full of fan.' 1 ''— Daily Inter-Ocean, Chicago. 

"These plays are supplying the dearth of good literature in this depart- 
ment. 11 — N. Y. School Bulletin. 

" We do not know of twelve dramas in the language (twelve sent for re- 
view) better adapted to teach good lessons and at the same time furnish 
amusement to the young. 11 — New England Jour. Education. 
ODDS WITH THE ENEMY. 

A drama in five acts; 7 male and 4 female characters. Time, 1 hour, 
45 m. Contains a good humorous negro character. 

" It took splendidly. 'Tabbs 1 made it spicy. 1 '— C- E. Bogers, Dunkirk, 
Ind. 

SETH GREENBACK. 

A drama in four acts ; 7 male and 3 female. Time, 1 hour 15 m. Contains 
a good comic Irish character. 

11 Seth Greenback was a perfect success. It can't be heat as an amateur 
drama. 11 — Will II. Talbott, Coalsville, Ind., Dramatic Club. 
WANTED, A CORRESPONDENT. 
A farce in two acts, 4 male and 4 female. Time, 45 m. Very interesting 
and amusing. 

INITIATING A GRANGER. 
'arce; 8 male. Time, 25 m. 

litiatmg a Granger. It was laughable beyond description. "— 
Lawrence, Mich. 

THE SPARKLING CUP. 
A temperance drama in five acts; li male and 4 female. Time, 1 hour, 45 
m. A thrilling play, worthy the beet efforts of amateurs. Pathetic song and 
death scene. 

"The Sparkling Cup met with great success. It is the great rival of Ten 
Nights in a Bar Koom.^— W. F. Kuhn, Be Graff, O. 
A FAMILY STRIKE. 
A epicy farce, illustrating " strikes, ' 3 male and 3 female. Time 20m. 

TWO GHOSTS IN WHITE. 
A humorous farce based on boarding-school life; 7 female characters. 
Time, 25 m. Very funny throughout, and contains souk; excellent hits. 



A ludicrous 1 
"We used Ii 
W. Simmon 8, 



SCHOOL AND PARLOR 

TABLEAUX 



Suitable for Schools, the Drawing-room, Church Enter- 
tainments, etc., etc. 



FULL DESCRIPTION OF COSTUMES 



DIRECTIONS FOR PRODUCTION, 



SARAH L. STOCKING. 



CHICAGO: 

T. S. DENISON. 

Copyright, 1879, by T. S. Denison. 

~\ 1 



^ 



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^ 



COSTUMES. 



\«W 



APPROPRIATE COSTUMES 



are very necessary to the perfect success of tableaux. Illustrated 
histories will be of great assistance in determining the dress of 
periods represented, and illustrated bibles for Oriental costumes; 
for the Greek and Roman, see Webster's Unabridged Dictionary. 

MATERIAL. 

Although satin and velvet are the richest material for costumes, 
still dresses of most elegant appearance, which answer every 
purpose may be gotten up with very little expense. Bleached 
and unbleached muslins, flannels and chintz, colored tarletan, gilt 
paper, and many other cheap materials may be made to produce 
the same effect as the more costly costumes. Sandals can be 
made, by binding a sole of card-board upon a stockinged foot, 
with colored ribbons. Wigs and beards may be made of curled 
hair. 

STAGE. 

The platform should be at least three feet high, and large 
enough to hold all of the characters without being crowded. It 
is better to have a large screen prepared for the back of the 
stage over which either a light, or dark cloth may be hung in 
folds for a background to suit the character of the costumes. 
If the figures are light, or brilliant, a dark background is 
needed. If dark, a light background will produce a better 
effect. The effect of tableaux is made more perfect by 
using colored tarletan, or netting in front of the stage. When 
it is inconvenient to have foot lights, lamps may be hung 
high upon the sides (lamps with tin reflectors are better.) A fire 
or moonlight scene may be produced by placing a red, or green 
shade over each lamp. Much depends upon the grouping of 
characters upon the stage. The principal characters must occupy 
the most conspicuous positions. The showy costumes should be 
mixed with the more sombre, and all the appointments of the 
stage should be as artistically arranged as possible. 

COLORED LIGHTS 

are indispensable to the finest effect in tableaux. These lights are 
of various colors, red, green, white, yellow, blue, pink, etc. They 
may be obtained from the publisher of this book. 



CONTENTS. iii 



003STTE!SrTS- 



TAGB 

America 5 

Faith and Hope 5 

Queen Esther in the Presence of Ahasuerus 6 

The Finding of Moses 6 

Pharaoh's Daughter Pleading for the Life of Moses 6 

Saul Presenting his Daughter to David 7 

Solomon Receiving the Queen of Sheha 7 

Queen Elizabeth Consenting to the Death of Mary Queen of 

Scots 8 

Raleigh Spreading his Cloak for Queen Elizabeth to Step 

Upon 9 

The Comforts of Bachelor Life 9 

The Discomforts of Bachelor Life 9" 

The Comforts of Married Life 9 

The Jealous Bride 10 

Night and Morning . 10 

Impatience 10 

Raising a Beard 10 

Ancient Histo^ H 

Diogenes and his Tub 11 

Josephine and Napoleon 11 

Lafayette and the Mother of Washington 12 

Queen Margaret and the Robber 13 

Iphigenia and Agamemnon 14 

The May Queen 15 

The True Cinderella 16 



IV 



CONTENTS. 



A Concourse of Goddesses 1? 

Offerings to Peace 17 

We'sFree 18 

Grandma's Story 18 

The Double Courtship 18 

The Double Wedding 19 

Married, but not Mated 19 

What Ought to Have Been 19 

Burning of the Stamp Act 19 

The Stolen Kiss 20 

The Anxious Mother 20 

The Miniature Soldier's Farewell 20 

Liberty and her Handmaidens 21 

The Court of Civilization 21 

Unfortunate Combatants 22 



TABLEAUX, 



AMERICA. 

The Goddess of Liberty, in usual costume, seated on an elevated 
dais, a little back of the middle of the stage. In the back- 
ground at the right of Liberty a woodsman in his shirt-sleeves, 
with an ax over his shoulder. 

At her left, also in the back ground, a soldier. In advance of 
these on cither side of Liberty are arranged young ladies repre- 
resenting the Goddesses, Justice, Household, Plenty, and History. 
Each dressed in white with fleecy drapery. Justice with scales 
in one hand, and the other either resting on a sword, or pointing 
toward heaven. Plenty (Ceres) with fruits, grains and flowers. 
Household (Vesta) bearing in her hand a lighted torch. History 
(Clio) with a pen and scroll. 

In advance of these, a gentleman representing commerce, 
seated, with his hand upon a globe which stands upon bales of 
goods. Opposite Commerce is a gentleman representing agri- 
culture, standing without coat, a large straw hat, a rake over his 
shoulder, a plow by his side. 

In the foreground kneels an Indian girl, with bow and arrow 
ready strung. 



FAITH AND HOPE. 

Two young ladies dressed in white, with long flowing hair, 
stand on the center of a round table covered with white, and 
apparently resting upon the shoulders of several young ladies, 
also dressed in white, who are so arranged as to give the effect 
of supporting the Goddesses. Faith stands leaning upon a large 
white cross decorated with flowers, with her face looking heaven- 
ward. ^ 

Hope rests upon%ne knee — her right hand on a large anchor 
covered with flowers. 

She, too, gazes upward. 

5 



6 TABLEAUX. 

QUEEN ESTHER IN THE PRESENCE OF AHAS- 
UERUS. 

The king seated upon a throne, over which is a canopy, from 
which falls heavy drapery. He is dressed in the Persian robe of 
royal purple, elaborately ornamented. His wrists are ornamented 
with bands of gold — a golden collar around his neck — his hair 
and beard long and curly. On his head a crown, above which 
rises a high cap in the shape of a sugar loaf. In his right hand 
is the scepter, which he is extending toward Esther, who stands 
before him with her hand touching the scepter. She is dressed 
in a robe of white satin, half low neck, short, close girdle of blue. 
Over her shoulders is thrown a mantle of crimson lined with 
saffron, which falls in folds to the floor. Her arms, neck, and 
hair are ornamented with pearls. 



THE FINDING OF MOSES. 

The stage can be so arranged with green bushes, branches, 
etc., as to give the appearance of water beyond. A young maiden 
in white, or some delicate color, kneels by the bushes with ex- 
tended hand, touching a basket which is seen in the midst of the 
foliage. 

Pharaoh's daughter, with three or more maidens, stand near, 
all in expectant and eager attitudes. The Princess with her 
hands outstretched, as if waiting for the contents of the basket. 
On one side of her, and a little in advance of the others, is a 
kneeling maiden bending eagerly forward. 

The others should be so arranged as most effectually to rep- 
resent surprise. 

The maidens should be dressed in long scant dresses, with 
waists and sleeves similar to the style of a century ago. 

The colors should be white, blue, yellow, or others that will 
harmonize. 

The Princess will be recognized by her prominent position, 
richer dress, veil and jewels. 

Two or three of the maidens may have heavy drapery thrown 
over the right shoulder, and fastened under the left- arm. The 
hair may fall loose or be gathered into a knot 



PHARAOH'S DAUGHTER PLEADING FOR THE 

LIFE OF THE INFANT MOSES. 

Pharaoh is seated upon his throne dresafci in his royal robes 
of purple, embroidered with gold; at his left are several nobles 
and attendants; at his right are his daughter and her maidens, 
one of whom bears the basket containing the infant. The Prin- 



TABLEAUX. 7 

cess stands a little in advance of the others pleading most earn- 
est 1)' for the little one, toward whom one hand is extended. 
For dress, see costumes of preceding tableau. 



SAUL PRESENTING HIS DAUGHTER TO DAVID. 

CHARACTERS. 

Saul, King of Israel, 
Michale, his daughter. 
David, Son of Jesse. 

The King is dressed in a royal robe, which may be represented 
by a large square cloth of purple or dark crimson, bordered with 
gold, one corner of which is thrown over the left shoulder, 
brought down in front, falling in folds to the feet, and fastened 
behind. The other corner is brought from behind, and fastened 
on the right shoulder, leaving the right arm bare. He should 
have a crown on his head, aud sandals on his feet. 

The daughter is dressed in white, with some heavy drapery of 
rich color, hanging over her right shoulder, and caught from the 
back by the left hand. Her hair hangs in curls, which are con- 
fined by a plain gold band ; pearls on her neck and w r rists. 

David is dressed in a shepherd's frock, coming just below the 
knees. It is fastened at the waist by a girdle. The sleeves are 
flowing. In his right hand he holds a spear. Over his left arm 
hangs a dark cloak; sandals on his feet. 

The King is the central figure. With his left hand he holds 
the arm of his daughter, who stands by his side with downcast 
eyes. 

His right hand is extended towards David, who stands be- 
fore him, with body and head slightly bent. David should be 
young, fair, with heavy hair. 



SOLOMON RECEIVING THE QUEEN OF SHEBA. 

Solomon has stepped down in front of his throne. He is 
dressed in a long, loose gown, reaching to the ankles, confined 
at the waist by a heavy embroidered belt. 

The sleeves are short, not reaching to the elbow, and edged with 
heavy embroidery. 

The bottom of the skirt is similarly embroidered. Over this is 
thrown a long drapery or a square mantle. It is gathered up in 
the middle on the left shoulder, leaving the left arm bare, and is 
thrown across the waist over the right arm, and the half that falls 
in folds at the back is caught to the folds which fall over the 
right arm, and he gathers up the back folds in his left hand 



8 TABLEAUX. 

which hangs down by his side. There are bracelets upon the 
arms, and a crown upon his head — the hair and beard long. His 
right hand is extended towards the Queen, who stands before 
him dressed in a rich robe of satin or velvet, her hair braided 
low upon her forehead — a low crown of diamonds, and from her 
crown falls a heavy veil reaching in folds to her feet. The neck 
of her robe is low — the sleeves short and close — pearls around the 
neck — bracelets upon the arms. She stands with her head bent for- 
ward — her hands crossed before her in a most respectful attitude. 
Just behind her are two maidens, more simply dressed ; each with 
veils. Also two male attendants with turbaned heads, and robes 
drawn closely around them. 

On either side of the throne of Solomon are courtiers dressed 
after the Jewish custom. 

On the side fronting the stage kneels a slave, with head bent 
forward, his whole countenance betraying wonder and curiosity. 

He is dressed in a loose gown, short, confined at the waist — a 
turban on his head, and feet bare. 



QUEEN ELIZABETH CONSENTING TO THE 
DEATH OF MARY QUEEN OF SCOTS. 

Queen Elizabeth seated in a chair, cushioned and covered 
with tapestry. 

She is dressed in an underskirt of white or very light satin ; 
with an over dress of black velvet — the dress flowing back from 
the waist, displaying the satin skirt. The sleeves are close, being 
puffed from top to the wrist — a deep embroidered cuff falls back 
from the hand. A deep, full ruff stands around her neck — her 
hair is pulled back, and ornamented with a low crown strewn 
with pearls — her feet encased in white slippers, rest upon a velvet 
cushion of bright color. By her right side is a table. Upon the 
table are open books, papers, and an inkstand. Bending over 
these, stands Davidson, her secretary— his left hand resting upon 
the warrant — the right raised before him, his head is bent for- 
ward, and his eyes looking intently upon the Queen. His whole 
attitude betrays earnest entreaty. " Pie is dressed in a full dark 
robe, which falls over each arm to the wrists. He also has a 
standing ruff. Back of him is a curtain which is parted, reveal- 
ing two other counselors — the one a little in advance of the 
other. , . ' " 

The first is dressed as a courtier with a cap upon his head 
The second is peering over the shoulders of the first— his head 
uncovered— he has a ruff over a velvet doublet. 

The first has an ermine collar which covers deep in front. The 
countenances of all express great earnestness. Elizabeth sits back 
in her chair— her eyes bent upon the floor instead of upon the 



TABLEAUX. 9 

speaker. Upon her right side is the table, upon which 
her left hand rests. Her right hand is by her side holding the 
pen with which to sign the death warrant of Mary Queen of 
Scots. 



RALEIGH SPREADING DOWN HIS CLOAK FOR 
QUEEN ELIZABETH TO STEP UPON. 

Central figure — a lady — representing the Queen — dressed in 
dark velvet or satin — made after the style in which Elizabeth is 
universally represented — red hair, dressed high, with the enor- 
nious head dress; high ruff, etc. — a page bearing her train. She 
is attended by a group of maids or honor, and courtiers. The 
maids dressed in colors which will harmonize upon the stage. 

The style of dress can easily be determined by illustrated 
histories. Two or three courtiers stand facing the Queen. 
Raleigh appears to have stepped from them, and kneels in the 
attitude of spreading the velvet cloak before the Queen. Raleigh's 
dress has been described on preceding page. The pictures of 
Shakspeare and his Friends will be of service in preparing cos- 
tumes for the courtiers. 



THE COMFORTS OF BACHELOR LIFE. 

Scene. A bachelor's room. Table in the middle of the floor, 
covered with papers, books, hats, caps, etc.; boots, shoes, and old 
clothes hanging and lying about., etc., etc. ; all in great confusion. 
In the midst of the general disorder sits the bachelor in a large 
arm chair, in dressing gown, slippers, and smoking cap, his feet 
resting on the table, and he contentedly puffing a cigar. 



THE DISCOMFORTS OF BACHELOR LIFE. 

Scene. The bachelor is seated in the same room as before. 
He is examining a rent in his coat; having needle and thread in 
hand to mend it, and ragged hose hanging on chairs around him, 
and he disconsolate enough. 



« 

THE COMFORTS OF MARRIED LIFE. 

{To follow the former tableaux.) 
The room now is to display the greatest order and comfort. 
Upon a table in the center is a student's lamp, a few books, and 



10 TABLEAUX. 

papers tastefully arranged, a work-basket, by which is seated a 
lady neatly dressed, mending the torn stockings. Opposite her 
is the former bachelor in a nice dressing gown and slippers, 
reading. 



THE JEALOUS BRIDE. 

A young lady, fair, and tastefully dressed, lies upon a sofa, 
holding in her left hand a beautiful bouquet; and in her right an 
open letter, which reveals the young husband's unfaithfulness. 

The bride is in her bridal dress of white, veil, orange blossoms, 
etc., etc. 

She stands back of the sofa, her body slightly bent forward 
over the letter. 

In her right hand is a dagger drawn, as if to plunge into the 
heart of her rival. 



NIGHT AND MORNING. 

A lady, dressed in black, enveloped in black lace, or tarletan, 
which is covered with silver stars, is just passing slowly off one 
side of the stage as the curtain rises. 

On the opposite side of the stage is a young lady dressed in 
white, enveloped in drapery of pink: and yellow tarletan, reclining 
upon white cushions, covered with blue tarletan, her head raised 
upon one hand. Upon her head she has a coronet of gold paper, 
ornamented with silver stars. The stage should be dimly lighted, 
the lights hanging high, and a strong light shining upon the 
coronet. 



IMPATIENCE. 

An old lady sits in a low rocking-chair. Before her stands a 
little boy, seven or eight years old, holding a skein of yarn, which 
tiie old lady is winding. 

At the door are two or three little boys making signs and 
noises to call the little fellow to join in their play. But the 
grandmother appears unconscious of the impatient looks of 
her grandson, or the noise and gestures of his playmates. 

RAISING A BEARD. 

A little boy sits leaning back in a large arm chair with a large 
towel pinned around his neck. A little girl stands before him 



TABLEAUX. 1 1 

with dish of lather in her left hand, and with her right hand she 
is lathering his faee with a brush. 



ANCIENT HISTORY. 

(A Utile girl seated by a table with a book in her hand, trying to 
Study. She throws down her book, yawns and says) — 

Oh, how sleepy I am ! There is surely no sense 

In this dull, stupid book, that mamma makes me read, 

With its horrible tales of attacks and defense; 

Of sackings and sieges, and many a deed 

Of murder and blood, and of wearisome mystery, 

That I don't care a pin for, in dry ancient history. 

Now if mamma did but know, that in this lovely weather, 
When the wild flowers ring their sweet bells in the wood. 
I would dote on my botany; I am sure she would rather 
Have me study at that, in a bright willing mood, 
Than to yawn, and to doze o'er the wearisome mystery, 
That I ne'er shall remember of dry ancient history. 



DIOGENES AND HIS TUB. (400 B. C.) 

Diogenes sitting in front of his Tub, bare-headed, bare-footed, 
and wrapped in an old mantle. 

Alexander in military dress, with several soldiers, standing 
before Diogenes. 

Alexander. (To Diogenes.) Have you any boon to ask ? 

Diogenes. Yes. Get out of my sunshine ! 

Alexander. (Turning to his soldiers.) If I were not Alexan- 
der, I would be Diogenes. 

CURTAIN FALLS. 



JOSEPHINE AND NAPOLEON. 

Napoleon seated by a table, his head resting upon his hands. 
Josephine enters the room ; stands before him near the table. 
After gazing upon him for a moment, taking her diadem from 
her brow, she speaks — 

Alas ! what boots my diadem, 
These pearls and diamonds rare? 
It titteth not an outcast Queen, 



12 TABLEAUX. 

This coronet to wear ; 

For thou, Napoleon, thou hast mixed 

A bitter draught for me ; 

And saddened this poor heart that looked 

For happiness to thee. 

It is ambition's mighty spell 
That weighs thy spirit down, 
And bids thee seek another bride, 
The heiress of a crown. 
And thou wilt seat her on thy throne, 
The house of Austria's pride. 
The young and noble-born Louise 
Will be tliine Empress bride. 

And I, the poor forsaken one, 

In exile far must pine, 

An alien from a husband's love; 

The stern decree is thine. 

O ! how couldst thou, ambitious man, 

Thus wring my breaking heart? 

Thou wilt not change, the word has passed— 

Heir of the world, we part! 

She looks upon him a moment, he moves not, and as she 
passes out, the curtain falls. 



LAFAYETTE AND THE MOTHER OF WASH- 
INGTON. 

In the center of the room plainly furnished, seated in an old- 
fashioned chair, is a lady to represent the Mother of Washington. 
She should be dressed very plainly in the olden style ; a white 
handkerchief crossed over her bosom— on her head a plain, 
white cap, and knitting work in her hands. Before her, with 
profile view to the audience, stands a gentleman representing, 
Lafayette, dressed as he is seen in the French prints found in the 
United States Histories, in military dress coat, sash, rufHes, etc. 

The curtain will rise and fall. When it rises the second time, 
Lafayette speaks. 

"On this eve of departure for my native France, I come to crave 
your blessing, and express my love and admiration for your 
noble son." 

Mrs. Washington rises and advances towards Lafayette, whose 
hand she lakes, and says: 

You will hear away from our beloved country, not my blessing 
alone, but the blessing and love of every true American." 

CUKTAIN FALLS. 



TABLEAUX. 13 

QUEEN MARGARET AND THE ROBBER. 

During the war of the Roses of England in the fifteenth 
century, a battle occurred near the town of Ilesham. Queen 
Margaret, wife of Henry VI. of Lancaster, watched tin; contend- 
ing parties from an eminence. She was a very handsome woman, 
and it is said that on this occasion, she was dressed in a manner 
better becoming the splendor of the court than the battle field. 
She watched the conflict until her husband and his followers, 
who were defeated, were flying from the field. 

Ber attendants sought their own safety in flight, and Margaret 
finding herself and little son alone, started for a thick wood, 
when she was stopped by a highwayman. The remainder of the 
story is told by the Tableau. 

The Queen is dressed in a long robe of some rich material — 
the waist close fitting and short — the sleeves flowing from the 
elbow. 

Her head is encircled with a diadem of precious stones, and 
her neck with diamonds — both of which are partially concealed 
by a heavy veil which is wound around her head and falls over 
her shoulders. Her little boy is clinging to her — one hand rests 
on the boy's shoulder, the other is partially raised toward the 
Robber, who stands before her. His hair and beard are long— 
his face dark and fierce — his blouse is belted with a broad leather 
belt, in which are pistols, knife, etc., and his hand grasps a 
sword. 

Margaret. Why do you stop me? You will not molest an 
unprotected woman ! Here, my friend, I commit to thy care the 
safety of the heir to the throne of England. This is the Prince of 
Wales. 

Robber. (Drops his sword and kneels.) Pardon me, most 
gracious lady, my cottage is close at hand. (He gives a low 
whistle and a woman in coarse clothing appears.) Marian, here 
are the Queen of England and her son. 

Marian. You will find poor comfort in our hut. 

Queen. I care little whether our shelter is a cottage or a palace, 
so long as we can trust our hosts. 

Robber. Do not doubt me. Though an outcast, I am a man. 
I am a friend to the Red Rose, and I here swear that I will de- 
fend Queen Margaret and her son. 

Marian. Believe him, gracious Madam, he will protect you. 

Queen. I do. 

CURTAIN FALLS, 



14 TABLEAUX. 

IPHIGENIA AND AGAMEMNON. (B. 0. 1200.) 



WALTER SAVAGE LANDOR. 

The following is a scene from Homer's story of the Trojan 
War— which occurred 1200 B. C. 

The Grecian fleet, on its way to Troy, was detained by adverse 
winds, on account of the anger of the goddess Diana — whom 
Agamemnon then leader, had offended. Calchas the soothsayer 
announced, that the anger of the goddess could only be appeased 
by the sacrifice of Iphigenia, the daughter of Agamemnon. 
When this was accomplished, the fleet again set sail. 

(Agamemnon in armor — Iphigenia dad in the simple dress of a 
Grecian maiden. See note on costume.) 

Iphigenia. (Taking her father's right hand.) 

father ! I am young and very happy. 

1 do not think the pious Calchas heard 
Distinctly what the goddess spake ; old age 
Obscures the senses. If my nurse, who knew 
My voice so well, sometimes misunderstood, 
While I was resting on her knee both arms, 
And striking it to make her mind my words, 
And looking in her face, and she in mine, 
Might not he, also, hear one word amiss, 
Spoken from so far off, even from Olympus ? 

(Agamemnon placed his cheek upon her head, but replied not.) 

father ! sayest thou nothing ? Hearest thou not 
Me, whotn thou hast, until this hour, 
Listened to fondly, and awakened me 

To hear my voice amid the voice of birds, 

When it was inarticulate as theirs, 

And the down deadened it within the nest? 

(Agamemnon moved her gently from him, still silent.) 

Iph. (With sighs.) 

1 thought to have laid down my hair before 
Benignant Artemis, and not have dimmed 
Her polished altar with my virgin blood ; 

I thought to have selected the white flowers 
To please the nymphs, and to have asked of each 
By name, and with no sorrowful regret, 
Whether, since both my parents willed the change, 
I might at Hymen's feet bend my dipt brow; 



TABLEAUX. 15 

And (after those who mind us girls the most) 
Adore our own Athene, that she would 
Regard me mildly with her azure eyes. 

(Again taking his right arm.) 

But, father, to see you no more, and see 
Your love, O hither! go ere I am gone! 

{lie gently moves her off, end draws her bur/,:, beads his lofty 
head abovi hers, heaves a sigh, and turns away.) 

Iph. {Shuddering.) 

O father! if the ships are now detained, 

And all your vows move not the gods above, 

When the knife strikes me there will he one prayer 

The less to them: and purer can there he 

Any, or more fervent, th in the daughter's prayer 

For her dear father's safety and success ? 

{He shakes with a groan, as an aged priest enters and takes her 
wrist. She turns toward her father and cries:) 

O father! grieve no more; the ships can sail. 



THE MAY QUEEN. 

CHARACTERS. 

Queen. 

Crowner. 

Scepter hearer. 

Six maids of honor. 

Six Floras. 

Two pages. 

On a platform strewn with flowers is a throne beautifull} 7 dec- 
orated with garlands and vines. 

The Floras' procession. First the Floras. Little girls dressed 
in white, with pink sashes; dresses decorated with flowers, and 
hair with buds ; they advance, scattering the flowers from their 
baskets ; two little girls, the pages, follow, dressed in white with 
green sashes ; when within a short distance of the throne, they 
separate, and form a line on each side, leaving a path to the 
throne ; next advance the maids of honor, dressed in white, with 
blue ribbons, bouquets of flowers looping up their sleeves, and 
fastened in the bosom of their dresses. They also separate in 
lines. 



16 TABLEAUX. 

Then follows the Queen, the crowner, and the scepter bearer. 
They walk up the path ; the Queen is seated upon the throne, and 
the two officers stand one on each side. 

The Queen is dressed in white, with white ribbons, a bouquet 
of delicate blossoms upon the bosom of her dress, her sleeves are 
looped with delicate blossoms, a beautiful wreath is thrown over 
one shoulder, passing under the opposite arm, hanging gracefully- 
over her figure. The officers are dressed like the Queen, except 
the wreath. The crowner carries upon a silver waiter a beauti- 
ful crown of white flowers mixed with rose buds on myrtle. The 
scepter-bearer carries the scepter decorated with blossoms. After 
the Queen and officers have taken their places, the members of 
the court all pass upon the platform, the pages taking each a 
place near one of the officers, a little back. 

The crowner then hands the silver waiter to a page, and taking 
from it the crown places it upon the head of the Queen. The 
scepter-bearer then presents the scepter. 

All repeat, or sing, 

" Mayest thou ever be a Queen, 
Ruling where no pomp is seen, 
By aflections ever green." 



THE TRUE CINDERELLA. 

Many will, no doubt, be surprised to learn that the True Cin- 
derella was an Egyptian maiden, who lived over two thousand 
years ago, upon the banks of the Nile. One day, when she, 
with young companions, was bathing her feet in the river, an 
eagle caught up one of her jeweled slippers, and flew with it to 
the royal palace, where it dropped its prize at the feet of the 
king, who offered a large reward to the one who should find the 
owner. The maiden, hearing this, presented herself at the palace 
of the king with one slipperless foot, while upon the other was 
the mate to that in his possession. The king's reward was him- 
self, as he made the maiden his wife. 

TABLEAU. 

King upon his throne dressed in royal robes of purple or 
scarlet, embroidered with gold, at his left are several nobles and 
attendants, standing farther back. The others may be dressed 
in robes of bright colors, and the attendants in more somber 
colors, and shorter robes confined at the waist by a leather belt. 
In front of the king, though in a position to give nearly a front 
view to the audience, stands the maiden dressed in a simple 
white robe reaching to her feet, and confined at the waist by a 
blue girdle. She lifts her dress sufficiently to show one stockinged 



TABLEAUX. 17 

foot, while on the other is a jeweled slipper mating the one held 
by the king. 



OFFERINGS TO PEACE. 

Alow altar in front, inscribed Peace. Behind it stands a young 
lady dressed in white, her hair flowing, and wreathed with 
flowers. Thirteen other young ladies in white, to represent the 
thirteen original States of the Union. Each young lady has a 
coronet encircling her head, containing thirteen stars. If desired, 
each lady may wear the coat of arms of the State she repre- 
sents. The ladies are ranged in a semicircle, with garlands of 
flowers in their hands. The one directly opposite the altar is 
slightly in advance in the act of dropping her garland upon the 
altar. A strong white light is thrown upon the scene. Columbia, 
as guardian angel stands upon a slightly elevated platform, rear 
of semicircle. 

After the tableau, if desired, the whole may appropriately con- 
clude with singing Hail Columbia, Star Spangled Banner, or 
Red White and Blue. — From the drama "Our Country," by T. 
S. Demson. 



A CONCOURSE OF GODDESSES. 

CHARACTERS : 

Juno, The Queen of the Goddesses. 
Clio, Goddess of History. 
Minerva, Goddess of War. 
Ceres, Goddess of Plenty. 
Diana, Goddess of Hunting. 
Aurora, Goddess of Morning. 
Urania, Goddess of Astronomy 

COSTUMES. 

The Goddesses should be dressed in white with drapery varied 
according to the character, and each with appropriate emblems. 

TABLEAU. 

Juno seated on a throne elevated, covered with crimson or 
green drapery; her emblems are crown and scepter; at her right 
is Minerva with helmet and spear ; at her left, Diana, with 
quiver, bow and arrows; Clio, seated at the feet of Juno crowned 



18 TABLEAUX. 

with leaves, and holding pen and scroll ; Justice is also seated 
below Juno; a long white veil falling over her shoulders; one 
hand rests upon a sword, in her other she holds scales. The 
other characters must be grouped in the most effective positions 
the stage will allow. Ceres with grains, fruits and flowers. 
Aurora, dressed in white, and draped with pick and saffron 
tarletan. She may be in kneeling posture nearly in front of the 
stage. Urania, her face nearly concealed by the lace or tarletan 
drapery which falls around her, and is made resplendent with 
stars, a silver crescent for a crown. 
The background should be very dark. 



WE 'S FREE. 

A colored boy holding a colored girl by the hand in the atti- 
tude of dancing, and with faces expressing the fact that they are 
free. The boy is dressed in yellow pants and blue waist, old 
shoes too large, no stockings ; the girl in red skirt, blue waist, 
black stockings, old shoes. 



GRANDMA'S STORY. 

Grandma, seated in an easy chair, her knitting in her lap, one 
hand raised towards the children who have left their play and 
gathered around her. One little girl is leaning on her knee ; a 
larger one is seated on a low chair with a little boy resting his 
head upon her lap; both looking intently at grandma; an other 
little girl is sitting in her little rocking chair with a large doll 
in her arms. A boy, older than the other children, is sitting by 
a table, covered with books and papers. He appears to have for- 
gotten his study, and sits with his elbows upon the table, his 
chin resting upon his hands, perfectly absorbed in grandma's 
story ; children's toys scattered around. 



THE DOUBLE COURTSHIP. 

A very tall, thin man whose clothes appear much too large for 
him, his collar very high, his cravat large, is seated by a very 
short girl, towards whom he is bending in the attitude of making 
love. The girl is listening, with a countenance beaming with 
pleasure. She is dressed with great display of attempted style, 
in colors gay and inharmonious. On the opposite side of the 
room another courtship is going on. A short, very corpulent 



TABLEAUX. 10 

man, with clothfiB very close fitting, is wooing a tall, slim girl, 
dressed in a style similar 1o the other. Both countenances ex- 
press great pleasure. 



A DOUBLE WEDDING. 

The tall man and short girl, the short, man and tall girl, all 
elaborately dressed, stand before a justice, who is apparently per- 
forming- the marriage ceremony. The parents and friends, gro- 
tesquely dressed, are present. 



MARRIED, BUT NOT MATED. 

The same characters ; the short bride is attempting to whisper 
confidingly into the ear of her spouse, while the short man is 
attempting to bestow a kiss upon his stately wife. 



WHAT OUGHT TO HAVE BEEN. 

The same characters, arranged according to height, look de- 
spairingly at each other, as if just conscious of what ought to 
have been. 



BURNING OF THE STAMP ACT. 

CHARACTERS. 

Brother Jonathan. 

John Bull. 

Young lady representing Virginia. 

Young lady representing Massachusetts. 

Young ladies representing the remaining eleven Colonies. 

COSTUMES. 

Young ladies dressed in white with the name of the Colony 
they represent in gilt letters, from the right shoulder, to left waist. 

Brother Jonathan, plain home-spun garments, straight flaxen 
wig, sallow complexion in make-up of the face. 

John Bull, white hat, dark blue coat with brass buttons, red 
waistcoat, cream-colored knee-breeches, boot-tops, big stick, fiery 
red face in make-up. 



20 TABLEAUX. 

TABLEAU. 

Red fire burning in the center. Mass. bending over the fire 
about to burn a large sheet of paper inscribed in large letters, 
44 Stamp act." Virginia L of Mass. with a similar sheet torn 
into fragments. Brother J. R of Mass. with a look of triumph, 
handing a similar sheet of paper to Mass. In the rear, L of 
Virginia, a man waving a banner inscribed : " No taxation with- 
out 'representation. Down with the Stamp Act." In the rear, R 
of Brother Jonathan, a youth waving a liberty cap. Still further 
to the R, and rear, John "Bull clenching his fist with a look of 
anger and astonishment. The eleven young ladies at the left and 
rear. 

R right. L left. C center. 



THE STOLEN KISS. 

A bright girl, simply dressed, is about to set a dish of apples 
upon the table, she turns so suddenly in her surprise toward the 
young man who is standing behind her, and who has stolen a 
kiss, that the dish tips, and the apples roll upon the floor. 



THE ANXIOUS MOTHER. 

A little girl dressed in the costume of a lady, her hair put up 
under a cap, sits in a rocking chair, holding a large doll, her 
sick baby. She has her face partially concealed by her hand, 
which she is holding to her eyes. The doctor stands by her 
holding the wrists of the baby with one hand, while in the other 
he holds a watch at which he is looking. The doctor is a little 
boy dressed like a man, in straight-bodied coat, etc. A table 
covered with vials, cups, and spoons, is near ; also the bed or 
cradle of the babe. 



THE MINIATURE SOLDIER'S FAREWELL. 

A little boy dressed in soldier's uniform, sword by his side, 
plume in his cap, etc. He stands with his arm around a little 
girl, younger than himself; his head is bent toward her; she 
partially conceals her face with her handkerchief. 



TABLEAUX. 21 

LIBERTY AND HER HANDMAIDENS. 

Liberty: Dressed in a long white robe, a crown of stars adorns 
her head, her right hands grasps the standard of a flag, with the 
folds of which she is partially draped; her left hand rests upon a 
large shield, the upper part of which consists of stars upon a 
blue ground; the lower part of stripes alternating white and red. 

Religion: A fair young girl stands at the right of Liberty, 
dressed in a long white robe; her hair loose, and ornamented 
with white flowers; her right hand rests upon a large white cross, 
wreathed with flowers. The cross rests partially upon her 
shoulder; in her left hand she holds an open Bible. 

Knowledge: A young girl at the left of Liberty; she is also 
dressed in white; a laurel wreath crowns her brow ; a table is 
near her, containing books, globes, charts, maps, etc. She holds 
a manuscript roll at which she is intently gazing. 



THE COURT OF CIVILIZATION. 

This tableau illustrates the progress of civilization, ripresented 
by Greece, Rome, Spain, France, England, America. 

COSTUMES. 

The Spirit of Civilization : A white robe, similar to that worn 
by Liberty; it should be edged with silver; hair flowing; a 
crown. 

Greece: White tarletan robe; blue tarletan sash; bands of 
gold about wrists and head ; hair in a twist with one tress left 
loose. 

Rome : Crimson robe ; short sleeves ; toga of white, trimmed 
with gold band ; hair in twist or coil. 

Spain: Long black silk skirt: a scarlet waist, square neck, 
black lace drapery over head and shoulders ; gilt pins in hair, 
chain, etc., and a large gold cross hanging from waist ; black and 
gold fan. 

Germany : Some thin fabric displaying the national colors 
(red, white, and yellow), the red maybe supplied with flowers; 
hair flowing. 

France: Pink dress; long train; dress covered with gilt 
spangles; pearls on head, neck and arms. 

England: Black velvet; skirt and mantle bordered with 
ermine. 

America; Thin white robe ; high neck; long sleeves; blue 
Spanish waist, covered with stars. 

Each lady bears in some graceful manner the banner of her 
country; they are easily imitated from pictures in Johnson's 
Atlas or Webster's Dictionary. 



22 TABLEAUX. 

TABLEAU. 

The Spirit of Civilization: Seated on an elevated throne. 
Upon a small altar at her side is a scarf of alternate stripes of 
red, and blue, and a crown of silver stars. Each of the other 
characters are arranged as artistically as possible at the right 
and left of Civilization. As the curtain rises, America enters, 
advances and kneels on a cushion at the feet of Civilization, 
who places her hand upon the head of America, and says : " Wel- 
come, thou youngest, and most heroic daughter of nations, only 
fulfill thy noble mission, faint not in thy high career, then shalt 
thou ever remain first in the sisterhood of nations." She then 
takes the scarf from the altar, drapes it over the shoulder of 
America, and places the crown on her head. Then the other 
nations draw nearer her, and all repeat, or sing— 

" Fold the broad banner stripes over her head 
Crown her with star jewels, Queen of the West, 
Earth for her heritage, God for her friend, 
She shall reign over us, world without end." — Holmes. 

(Piano^trikes up: " Columbia the Gem of the Ocean." As Civ- 
ilization gives her hand to assist America in rising, and the two 
walk together off the stage, the others follow by twos.) 



THE UNFORTUNATE COMBATANTS. 

A dozen or more boys from 10 to 14 years old, apparently 
just from school — are gathered upon the play-ground; some have 
their school satchels thrown over their j shoulders, others with 
books in straps, balls, clubs and marbles are scattered around. 
The master has caught two of the boys in a fight ; he holds each 
by the collar, and looks fiercely on. He is dressed in some old 
time costume, The boys are both bareheaded, hair rough, coats 
off ; sleeves rolled up. The smaller boy stands with his hands 
hanging by his side, though his fists are clutched, and he 
glares fiercely at his antagonist. The larger boy looks more 
subdued, and appears to have had the worst of the fight; 
he holds his head in one hand, and the other rests upon his 
side as if hurt. He looks crestfallen and subdued. The rest 
of the boys stand in groups — a few of the older near the larger 
combatant, and the others near the smaller boy. One little fellow 
stands near the master with his hand raised, and finger pointing 
to the opponent of his friend, whose cause he is apparently 
pleading with great earnestness. The larger boy has his cham- 
pion, who appears to be laying the blame upon the smaller. 



THE ASSESSOR. 

A humorouB sketch illustrating the difficulties of nn assessor in listing 
the property of a shrewd old farmer. Full of unexpected developments; 3 
male and 2 female. Time, 15 m. 

BORROWINO TROUBLE. 

A ludicrous farce; 3 male and 4 female. Time, 30m. Illustrates the very 
amusing trials of a borrowing family, 

11 Borrowing Trouble fully sustained the excellent reputation gained by its 
author. It brought down the house."— Madison (Win.) Democrat. 
COUNTRY JUSTICE. 

A very amusing country lawsuit; 8 nude characters. (May admitl4). Time, 
15 minutes. Contains a very remarkable verdict. 

LOUVA, THE PAUPER. 

A drama in five acts ; 9 male and 4 female characters. Time, 1 hour 45 m. 
Contains a good Yankee character and a humorous darky character. This is 
an intensely interesting and pathetic play. It admits of striking scenic ef- 
fects, and is a. strong and popular play for amateurs. 

Act I., Louva's tvrauts. Act II., freedom promised and denied. Act III., 
the trial. Act IV., flight. Act V., pursuit; death in the mountains; retribu- 
tion. 

" Send sample copy of a play that is as good as Louva the Pauper. That 
took splendidly here. — G. J. Railshach, M inter, III., Dramatic Club. 

" Peleg Pucker, the Yankee peddler, is inimitable.'"— Practical Teacher, 
Chicago. III. 

THE PULL-BACK. 

A laughable farce; 6 female. Time, 20 m. Contains an excellent old- 
fashioned M old lady" character. Pictures her adventures among the devotees 
of fashion. 

HANS VON SMASH. 
A roaring farce in a prologue and one act; 3 male and 4 female. Time, 
30 m. Contains an excellent humorous Dutch character. This is a very pop- 
ular farce. Country life. 

11 Hans brought down the house.'"— DeVan Vlcck, Deep River, Iowa. 

ON THE BRINK, 

Or, The Reclaimed Husband. 

A temperance drama in two acts, by II. Elliott McBride; 12 male and 3 

female. Time, 1 hour, 45 m. Seven of the characters have unimportant 

parts, andsome of the parts are so arranged that the same person may play 

two parts. Contains three humorous Yankee characters. 

''We rendered On the Brink a number of times very successfully to 
crowded houses."— Dramatic Club, Cordova, Minn. 

A PARLOR ENTERTAINMENT. 
A sketch, by H. Elliott McBride; 2mal3 and 5 female. Time, 25 m. A 
first rate piece for boys and girls in school exhibitions. Very amusing. 
OUR COUNTRY. 
A patriotic drama in three parts. Requires 9 male, 3 female. (Admits 9 
male, 15 female.) Four fine tableaux. Time, about 1 hour. Based on Colon- 
ial and Revolutionary history of U. S. The narration is lively enough to make 
it take well. It contains some striking situations. 
A BAD JOB. 
A highly ludicrous farce, by II. Elliott McBride ; 3 male, 2 female. Time, 
30 m. 

What Have we to do with Plymouth Rock? 
A colloquy adapted to the use of Illinois schools, and of general interest 
to New England immigrants in the central Western States. By J. II. Blod- 
gett. May be used by from ten to twenty pupils. Time, 40 m. Interesting 
and instructive in the history of Illinois. 

AN" ONLY DAUGHTER. 
A drama in three acts; 4 male, 2 female. Time, 1 hour, 15m. An Intense- 
ly interesting story of petted indulgence, error, suffering, wrong, retaliation 
and repentance. Humor to make it take. No dialect. A society play to 
suit the most fastidious. Ready Nov. 15, 1879. 



THE SCHOOL MA'AM. 

A brilliant comedy in four acts; (5 male, 5 female. Time, 1 hour, 45 m. 
This play is not a mere tissue of imaginative incidents. There is scarcely an 
incident in it hut has had its counterpart in the workings of our public 
schools. It contains a good comic Irish character, an American "Mrs. 
Gamp," a "self-made man" (poor job), and the typical American "School 
Ma'am, 1 ' anxious to succeed, but beset with difficulties. Every teacher, every 
director, every citizen, should read it as a book, whether you wish it as a play 
or not. 

THE IRISH LINEN PEDDLER. 

A lively farce; 3 male, 3 female. Time, 45 m. The action is lively, the 
incidents unexpected and ludicrous. Pat O'Doyle, the peddler, is a combina- 
tion of wit, drollery, cunning and impudence. 

THE KANSAS IMMIGRANTS; or, The Great Exodus. 

A roaring: farce; 5 male, 1 female. Time. 30 m. Contains two darky 
characters. Excruciatingly comical. Cannot fail to be a popular farce. 

IS THE EDITOR IN? 

A farce ; 4 male and 2 female. Time, 20 m. Scene, a country newspaper 
office. Very amusing. 

A REGULAR FIX. 
A farce, by J. Madison Morton; 6 ma'e, 4 female. Time, 35 m. Very popular. 

MY TURN NEXT. 
A capital farce, by T. J. Williams; 4 male, 3 female. Time, 45 m. Illus- 
trates the difficulties an apothecary encountered through marrying in haste. 

A KISS IN THE DARK. 

A farce, by J. B. Buckstone; 3 male, 2 female. Time, 40 m. A highly 
successful farce. 

THE PERSECUTED DUTCHMAN. 
A farce, by S. Barry; 6 male, 3 female. Time, 40 m. Good. 

LIMERICK EOT (Paddy Miles.) 
A farce, by James Pilgrim; 5 male, 2 female. Time, 40 m. A tip-top 
farce. 

I'M NOT MESILF AT ALL. 

A farce, by C. A. Maltby; 3 male, 2 female. Time, 25 m. Very funny. 

A BOUND VOLUME 

Of plays, containing the first ten plays in this catalogue, substantially and 

handsomely bound in muslin, gilt stamp. Will be sent, postpaid, for $1.25. 

FRIDAY AFTERNOON SERIES. 

A collection of origin a 1 , lively dialogues suitable for boys and girls in 
school entertainments. Some of the dialogues contain both male and female 
characters; some are for boys alone; some for girls alone. All are short. 
Price, 25 cents. 

SCHOOL AND PARLOR TABLEAUX, 
By Sara L Stocking. A choice collection of original tableaux for school, 
church, and parlor entertainments. They embrace a wide range of subjects, 
from the classical to the comic. The historical tableaux admit the use of 
beautiful costumes, and cannot fail to please. Full instructions given as to 
costume. The comic tableaux are simple and easily prepared. Price, 25cts. 

SCRAP-BOOK RECITATION SERIES, NO. 1, 

By II. M. Soper, Professor of Elocution. A choice collection of fresh read- 
ings, pathetic, dramatic and humorous. The editor has taken especial pains 
to make a collection chiefly of choice new pieces, which cannot easily be 
found elsewhere. The editor's extended experience in teaching elocution has 
admirably qualified him for discriminating as to what is really adapted to 
elocutionary purposes. While special care has been taken to find new and 
rare pieces, nothing has been admitted which does not contain real merit. 
Ready Nov. 15, 1879. Price, 25 cents. 

T. S. DENISON, Chicago. 



PN 3155 
.S7 
1879 
Copy 1 



LIBRARY OF CONGRESS 



„ „ lini JllIIl HI" 
027 211 322 1 




